STAINED-GLASS

PROJECT FOR A LIGHT PATHWAY
at the SWISS FEDERAL INSTITUTE OF TECHNOLOGY
Lausanne, Switzerland, 2010

Rolex Learning Center at night
with the light pathway

Rolex Learning Center at day
with the light pathway

Map of the light pathway between the central
esplanade and the Rolex Learning Center

4 examples of light pathways: red, yellow, green, blue
                                                      yellow, red, green, blue
                                                      green, yellow, red, blue
                                                      blue, red, yellow, green

 One study page for a light pathway
from the school’s central esplanade
to the Rolex Learning Center

Longitudinal map of the pathway

Coloured cut of the pathway

Dimensions cut of the pathway

An arc of light links EPFL to its memory. It suggests an architectural link between the school’s central esplanade and the Rolex Learning Center, built on the golden number which has been known for its scientific properties, from mathematics to biology, and for its importance in art history.

This project is a pathway that connects the school’s central esplanade with the Rolex Learning Center, from the bottom of the main stairs of the square to the center’s western entrance. It is topped by a roof made of 1560 glass strips placed transversely to this path. They are colored by four colors that represent the four bases of DNA, arranged in terms of 3, 5, 8 and 13 of the Fibonacci sequence. They mix with the multiples of the terms used, 15 = 3 x 5, 24 = 3 x 8,… Therefore, the mixing of the four is situated at the 1560th and last band (3 x 5 x 8 x 13 = 1560).
This gives 860 glasses of 15 colours, visible in natural light and illuminated at night, with 700 black glasses in rhythm. They form a ribbon of light bands of 10 cm by 4 m, 180 m long and 4 m wide. These bands are seen from below when walking on the path, and from above from the Esplanade, forming a luminous arc, genetic code, stretched towards the Rolex Learning Center in a curve section of the Euler spiral.
A grazing lighting illuminates the floor composed of 10 cm clear stone slats per 4 m in correspondence with the rhythm, color-black, of the roof. Two different surface treatments recall the coloured stripes of the opaque stripes.
With a width of 4 m, this path allows groups of researchers in discussion to meet comfortably. The height under the roof is 3.14 m in a ratio of 4 to the square root of the golden number. A light metal structure placed on fine pillars supports this glass roof and discreetly blends into the landscape with its exceptional view of Lake Geneva and the Alps.

STAINED-GLASS AT THE GRAND CROSET DESSOUS
Mountain pasture, Joux valley, Switzerland, 2004

Fire place and stain-glass window, 2004

Living room and stained-glass window,
2004

Gentian, glass painting
2004 (photo 2017)

This stained-glass window depicts the atmosphere at the mountain pasture with the evening light and gentians, and allows light between the bathroom
and the living room. It was painted with glass painting according to the rules of serial painting with three colors yellow, red and green.

THE CALVIN AUDIENCE PROJECT
Geneva, Switzerland, 2003

Entrance stained-glass

Side stained-glasses

Choir stained-glasses

The Calvin Auditory is a place of worship and meditation. This project aims at considering the windows as architectural elements meant to stimulate the feeling of contemplation that emanates from the Auditory.

 

As a consequence, the visitor can feel aligned while moving gradually from a swirling external world into a soothing inner self. And contrary to what happens in the external world where time can be described as mechanical, productive and social, with its regular and homogeneous ticking, in this project all stained glasses are organized in a counter clockwise direction.
The entrance window is designed from the outside to the center, as a metaphor of the movement towards the inner self which is necessary for meditation and prayer to take place. Its colors are an emanation of the rainbow, red, yellow, green, blue, decomposition of white light. They aim to represent the variety and uniqueness of the world. The resulting colored pattern, with no marked dominance, introduces all the other stained-glass windows.
The four side windows are “meditative variations”. The composition of each of them is the same, but the switching in the ordering of colors gives a dominance to each, suggesting different ways of meditation.
The choir is the result of meditation. The three windows composing it were worked as a single unit, from the center to the outside, representing the radiation of the being after having found him/her self. The bursting burst of color expresses the inner peace and openness that become possible after this cleansing process.